Brent Blount - Jazz & Native American Music
How Does One Think in Sound?

   How does one think in sound? What would our world be like if every world leader thought in harmony? Is there such a thing as creative harmony, where one hears harmony (chords) in the inner ear, while spontaneously composing melodies? There is, because I experience it. Furthermore, I wish to add to the below quoted text – it is also free of thinking in words or sentences. It is communication, that, while one may not speak with the whales or the birds directly for example; moreover, one may deduce through their sound their feelings. Not so?

   Prince sang, “I know why doves cry,” while referring to his parents fighting. Hence, are  birds and whales mourning, because they keep loosing their homes of nests and open salt waters? Some people don't think animals feel, but what's happening to the birds and whales? Maybe Prince was just projecting his feelings onto the doves; however, dead whales on a beach can be personified - they're inanimate.

   Their homes are demolished by logging and fire, or their waters are polluted with oil spills, yet they communicate with musical song. So, for every world leader to truly think in harmony, they'd have to think with the birds and whales. Music, by definition, is a universal language. 

   And at last, one thinks in sound (left brain/logic), by being able to stay open to all vibrations to a point (right brain/emotional) and remain a compassionate human being. To remain disconnected and without a song in one's soul, is to become the religious fascist – pious to the president, while a traitor to their God.

 The musicians—jazz and classical alike—scored higher in originality than their non-musical peers. This finding provides more evidence that music training is beneficial to the brain in ways that extend far beyond the practice room.

   The varied reactions to the chord progressions were telling. Not surprisingly, non-musicians strongly preferred the expected sounds. Classical musicians liked those in both the medium and high-expectation categories. And jazz players "were undifferentiated between the high and low expectation conditions."

    In other words, the young musical improvisers were uniquely receptive to unexpected sounds. Analysis of their neural activity provided confirmation of their self-reports: The sounds prompted their brains to produce a unique pattern of small voltages known as event-related potentials.

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